SPEAKER_00 0:01

Welcome back to the Dread Alert Podcast. Today I'm joined by Adam O'Brien, director of Bury the Devil, a fantastic film which challenged a lot of my expectations. I think Adam's gonna have some really great insights into how such an interesting one-take real-time horror film was produced. Adam, thank you so much for joining us. Oh, thank you. Thank you for having me. We um talked to a lot of filmmakers on this show, but none have had a film quite like Barry the Devil. I really respect the fact that this was set up as a one-take film, and I'm really curious about how that was made. But before we dive into all of that, give me a log line. Tell me what Barry the Devil is about from your perspective.

SPEAKER_01 0:46

Well, Barry the Devil is about uh that uh caretaker nurse who just uh go to our first night of work to take care of that old lady named Evelyn, who she she's probably have dementia or or some sort of, and she discovered along the way then no, there's something else going on with that lady. She had a more darker secret until that those group of people just coming in, but they want not, you know, they want something inside the house, but they want her to get out, not to get in, you know. So so in it would just go through that uh marvelous, like kind of uh unexpected possession horror type of movie after that. And the one-shot element obviously had a lot of that.

SPEAKER_00 1:32

It's interesting because it does sort of straddle a line between uh a very poignant film about caregiver fatigue, and it's also a film about a possession uh in a number of ways, uh surprising ways. And it also has this home invasion element, which is a complete surprise and realized in such a surprising way, too. Um, and you're spanning a lot of horror genres here. Your horror credentials are are are on display, and you spent a lot of your career in horror, if I'm not mistaken. You've directed a few horror shorts and and features. What draws you to this genre specifically?

SPEAKER_01 2:08

Oh, horror comes from basically that desire of uh, you know, to not be scared anymore, you know. So it's uh it's come from that part. And when I started to watch horror movies, because me, I'm come from a family who uh who were projectionists. So my grandfather was projectionist and my father too. So I grew up basically all the time in theaters watching movies that I'm not supposed to watch, you know. So on the boot and you're just having that small little window and having the 45mm uh, you know, uh film just like uh going beside your ear. So I was there. So I did that for many, many, many years. Uh so I watched movies from other countries too, because it was festival. Anyway, so that's this is where all this comes from. So my love of cinema first. Obviously, with more American cinema at the beginning, I will say that. And suddenly, more I grew up went more with like more, oh, okay, there's other things that there's other, oh, a movie can have a theme. Oh wow, that's great, you know? And suddenly, like, oh, but I love horror. Why? Because it's fun, it's scary, it gives you an instant emotion. Comedy, too, by the way. But comedy for me, it's more hard to do as a filmmaker. I tried and it's really hard for me. Just but it's the same kind of mechanic, you know. So it's a kind of you you need to deliver, you know. You you kind of set up, uh, set up punch thing all the time. So in the horror is the same thing. A jump scare, do the same, basically. So I love horror because it's an instant gratification of the fear that you can have, but also I can identify myself into that. And like, yeah, I watched Evil Dead, and you know, I was scared as shit when I first time I watched it. Because I was not supposed to watch that movie, you know, so I was too young. But after that, there's a how I can conquer that, and horror movies are fun for that. And try stuff. Look, this is the best sandbox to try stuff and try to new stories or new form, like making a one-shot movie, you know. So why not to do that in a horror movie like that without being uh a fine footage film? You know, so it's like just try stuff. Can be good, can be bad, but at least you try, you know. So and horror is more forgiving, also a little bit for that. So I love horror for that. I love what emotion they can give us all the time. So super cool for that.

SPEAKER_00 4:20

You're touching on a lot of things that we frequently dive into on this podcast, and that I think Threat Alert Media has a specific interest in, and that's horror as a way for us to safely project our fears. Um, and also horror and comedy being strange bedfellows, which is why I think that that sub-genre works so well. I think it comes down to surprise as well. You have that set up, and the delivery has to have an element of surprise in it. Uh, and you do that incredibly well with this film because w every time I thought I knew where you were going with it, I was incredibly surprised. How uh does your background, uh what what skills from your background, I guess, did you bring to the table here when you were executing this one take film?

SPEAKER_01 5:06

Uh I have a background a lot in uh look, I started with like in everybody in the movie. So small camera, going to bigger camera, making like uh short films, and try to discover how to tell stories with images, like a lot of people. But I started as a technician on set. So I did many movies like that and TV series, and uh, I'm based in Montreal and and and did years where we needed a lot of a technician. So I entered slowly in 1998, 99. So I went and started and on set just to learn. You know, you know, learn technic the technical aspect most of it. You start with the technical aspect and try to make the storytelling around that. And some people go in school and just like, oh, I'm just gonna learn the the the theory of uh of uh making a movie and how you can tell stories in screenplay. We can do that, but I found more interesting to put my hands on, you know, and just pulling cables and then just try to figure things out, you know? And that led me to a post-direction facility at some point where I was doing motion control and where I learned a lot of visual effects. And uh but back in the days when visual effects today, it's uh not gonna say it's easy, but it's more you know, everywhere, and you can have your own software on your computer. Back in the days, it was it was not like that. You need to have a you know a freaking big room with many computers and just having that that power basically to render. And when you do a render, I remember then you do renders for uh a two second shot, uh, it takes 24 hours, you know. So now today it's super fast. But this is how I learned a lot, you know, and my background became after that visual effects supervisor on shows. I did a TV series for kids at some point too, so uh using new technology. You see, I'm a lot also like how we can use technology to uh integrate in filmmaking. So my background led me to understand a lot about technical aspect, and this movie is very technical. So I'm like, okay, how can I do this, but with the budget that 1917 that I don't have, you know, or burned man, I don't have those those budgets, but I want to do the same thing. So now you go back in my technical, you know, background, and I say, and I'm like, okay, how I can achieve that in on budget, on time, and what will be the steps to do that, basically. So that's come from all my background in visual effects and technical as a technician. And after that, uh, how to tell a story like that. It's not every day you can do that, you know. Oh, let's make a one-shot movie. It's like, yeah, we don't know. Even the writers, the writers try to write that. They wrote the real script, and like, that's great, but we're gonna have problems with your script. Like, why? There's too much stuff, then we need a close-up. How the hell I'm and just having the camera go in a close-up, getting out, getting in, get you like, okay, that's odd. That's just odd because it's usually movies are made by a sequencing of images that that's gonna lead you to an emotion. So you have an image in the middle, and you have two images side by side. Those things are gonna give you an emotion. When you do a one shot, it's about tension and what you can follow. And that is really, really hard to do. More than what people can think. So it's uh that was that was the challenge, man. That that that was that was hard.

SPEAKER_00 8:29

It was really, really hard. I can't imagine what the choreography had to be like. And I found myself that was one of the notes I took when I was preparing for the review of the film, is this has to be choreographed down to the inch. Your cameraman has to be out of the way of your performers, your performers have to be out of the way of your lights. I mean, what was that process like?

SPEAKER_01 8:48

Uh the first thing I did actually is I could I had this idea because it's come from the the challenge came from from my DP at the beginning. And I said, You're fucking nuts, man. Fuck you. I'm not gonna do this. And I hang up the phone. And at the two days after I had this idea of Ohm Invasion, I'm like, oh, maybe I can do an Ohm Invasion movie, what I can do as a story. And I found a place first. So the location, it's owned by one of my friends. So I had access to the location. So me by myself, going there with my iPhone and took a bunch of pictures and videos and where we can go in, out, and just thinking around. And we build a script like that, with that. So we did reverse engineering a little bit, rather to have a good story and make it fit in the one shot. I said, I have the one shot and how and the location, how can we make a story with that? That was the process, the first process. And following that, I went to the place and I'm like, okay, I need to find a way to see what I can do, but I don't have enough money to, like I said, to do the like those big movies, uh, Birdman or uh 1917. Oh, let's rehearse for five, six months and let's just, you know, let's get the actors, the cameraman, and let's let's try stuff, you know. So you you I don't have that luxury. So what I did is had a version of the script on my iPhone and took two actors that are not in the movie, uh, and I did my blocking with with them just for, but then a full weekend. So for the full weekend, I just ran around the house checking out what works, what don't. And uh, and I discovered okay, the script needs to be segment. That you know, the discovery was that. So I need to do six or seven segments in a script of about 15 minutes each, and finding a place where I can do a creative cut or something like that, because the issue is not because I didn't want to do the whole thing, but it's the rehearse. And I didn't have my actors yet. So I need to find a creative way to just like okay, what what happened if I have a problem here? What happened if I have another problem? Uh, how I can escape in the editing room, or even if I do those re-earths, it's not with the actors who play. So it's good for the camera to about what we can do, but need more and more and more. You see what I mean? So it is that that that was the tricky part, but that was the first step. And after that, this is this is what people don't know yet, is we got my actors two weeks before the shoot. So we rehearsed only a weekend, and I did the full movie with them on the weekend, but with the camera operator, the sound guy, and the grip. But suddenly we found that the camera is too big for the place. Oh no, it's the whole house. You we see it in the movie, you think that it's big, yeah, it's big, but the the the the all the way in the corridors and the doorways are about like because it's all outs, about just two inch smaller, one inch and a half, two smaller than regular doors. Same thing with the steps. All this the and the stairs, it's about one inch uh uh uh more narrow than regular stairs, what you can get here today, you know. So just imagine a guy with that huge camera just need to run in the stairs, and he said to me, I'm gonna die, man. You know that so I can I cannot move back, you know, because I'm gonna just gonna die. So this is why sometimes in the in the camera you see the camera goes, ugh, it goes like this. It's it you think this is the creative shots. No, the guy said, I'm dying, I'm dying, save the camera, you don't hear it, but I'm like, okay, continue the shot. So but it's the one shot, everybody knew that, so we never cut. So that was kind of um the thing then we figured out like the weekend before to shoot. So all the re-earths was only made in the weekend with the actors, and all the re-earths for the camera was made on the day. So we shot this movie in six days.

SPEAKER_00 12:39

It it's wild to me. And my first question was the choreography. My second question is how did you bury the cuts? I mean, I think about Hitchcock's rope, which is like I think 10 different segments, and they'll zoom in on somebody's back, and you're like, well, that's it, that's clearly a cut, you know. This was seamless, and I I wondered if there was VFX processing or just really specific lockdown shots at some points that allowed you a clean edit.

SPEAKER_01 13:05

Um, there's the obviously in the script, like I said, I separated my the script in seven or six uh segments of 15 minutes, then I knew then I wanted to do in one long take. Um but there's big and the reason why we did that, by the way, is also because um poor actors need to look to learn all a full script, you know, in two weeks. And just you know, theaters it you take six weeks, four weeks, eight weeks to to learn your thing and to learn the choreography on on a small stage. Now you need to understand and remember every single step everywhere, you know, in very short period of time. So that was also a reason why we um we use you know that technique of separated like uh by segment. And what I did is um each segment for me, I knew that I had like a specific place where I can cut. So I re-earse that place. I'm like, okay, I can pass with visual effects, and most of all they're all done by visual effects, by the way. There's nothing like a pure, just like I'm gonna stop that, like in Rogue, for example. Okay, no, stop there. I'm gonna do no, no, no. I said, no, I need to be more creative than that because people will say, you make a cut in the darkness, that's easy. No, I didn't. So even if they're darkness flakes, by the way, there's dark. But there's a reason why it's dark. It's dark because I don't have enough light at some point. Yeah.

SPEAKER_00 14:31

I was gonna ask, yeah, how do you light this without having the rigs on camera?

SPEAKER_01 14:35

We had uh 48, 50 lights hiding outside and inside the house. So basically we took astera light and we just uh screw them on the ceiling, but they can be all manu uh uh you know gauged by uh the uh in Bluetooth in this sense. And and we had lights like in the big rig outside that also light on one side only. But it's a huge house. Like, yeah, okay, I need to light up all the house. So obviously, this place is more dark. What can I do? You know, it's impossible to do it, you know. So at some point you were so limited with the budget you have, and this is a real set, it's not something we built. If it was a building, a place that I built, I couldn't remove walls, I can having fun and you know, making different kinds of shots, more creative shots. Now, okay, I'm sticking with the walls than I have and the limitation that I have, you know. So, anyway, so those cuts was so I make those cuts very creatively. But I had in my mind, because I have a visual effects background, I was like, okay, I need to find also moments. What if the take is not good? But portion is good, but that take is not good. It's impossible to match those two things because the rhythm is different, uh, the timing is different, uh, the framing is gonna be different no matter what. So, how do you do that? So I figured a few places, very magical places, then I knew then, okay, if I pan here with the actors, I can cut maybe something in the face of the actors, which is I did. So there's a few at the beginning that it's the the cut is in the face of the actors. And then and the visual effects, what I did is basically I took the I'm I'm I'm entering in the very technical aspect right now. But it's um I took the two shots, and I'm like, okay, I like that 15 minutes that 15 minutes is the best. But there's a portion here where the poor cameraman just trip. The shot is good, the acting is good, everything is good from after and before, but just that one moment where it tripped. And the rule was even if you have a problem, we don't stop. You continue. That's it. So it trip. But I'm like, oh, okay, so I need to try to figure it out a way to take that out. So where I'm gonna cut and what I'm gonna do. So sometimes I'm like, oh, okay, so in the pan here, I have an actor that I can follow. So the actor can do a wipe, basically, on uh on one shot to the other shot. But the two shots are similar, but they're not framed properly, they're not framed the same. So I need to take, okay, that's gonna be my eero shot, that eero shot's gonna, that's gonna be my speed, my this, my that, whatever. And I took the other shot, and I'm like, I'm gonna adjust about where it is, and 10 seconds to 20 seconds before I'm gonna try to transform to lead to that place. And after that, to go back in another 10 seconds to the original shot. And then visual effects after that, they would just need to maybe to cover maybe five, 10 frames, maybe in the retroscope or whatever what we need to do in my painting or whatever it is. So, and this is how you modify both. So by speeding, slowing down or speeding up the speed and reforming, reframing, and just like getting the thing. So sometimes even the shot is there's no effects. It's just like zoom like this and going down. So you you have it's the same feeling, same thing, but I did nothing basically. I just like reframe it the perfect way, and for one frame, boop, okay, you're good, and you continue, and we continue the shot. That was that was that was wild. That was wild.

SPEAKER_00 18:09

Yeah. It strikes me that the edit here might be easier in some ways because you're not piecing together, you know, shot after shot after shot, but also much more challenging in that matte painting and unifying a shot that maybe you want to splice together. Yes, then keeping it seamless.

SPEAKER_01 18:25

Uh yeah, to look seamless and to look the same speed. Because the problem sometimes was the seat. One shot was faster, the other shot was uh was slower, so how you match feet. Because this is sometimes it's not where you do the cut, the problem. Oh yeah, on the frame it works perfectly. A little bit matte painting, a little bit VFX, and okay, that's done. But because the shot moves faster, ear is slower, you feel a bump all the time. So it's not the the the the the the cut that is a problem, it's what's happening before and after. So this is what you need to fix, not the shot itself, not the where the cut is. That's the easiest part. It's the before and after to get the same straight motion all the time. Or adding a camera shake. I did places when I did the sun cut, I had a camera shake because the camera was shaking, but I had a camera shake like five seconds before, like if it was something. So your brain says, Okay, it's just normal. You do the cut, and I stopped five seconds later camera shake, just slowing down, just to give you the illusion of movement.

SPEAKER_00 19:27

I and I caught zero of these. I there were places where I was like, oh, that's an interesting transition. If I were to make a cut, it would probably be here. I I remember the ceiling was one of those shots. I was like, there was something up in the ceiling. I was like, that might be uh that might be a place, but I know what I know what it is.

SPEAKER_01 19:42

There's no there's nothing in the ceiling. I know what I know exactly what you're talking about because I don't go often on the ceiling. There's no cut there. Yeah.

SPEAKER_00 19:49

100%. I see that's where that's where I would have put one. And so I caught zero of these cuts. Uh, that's so interesting to me. And uh, you know, I've I've seen a couple movies uh in my day, and uh I would expect to have been able to pick them out. So you've done a masterful job here. Thanks. What's interesting to me, and longtime listeners will know that I never shot up about my theater background, um, but I was a director and a producer, and many, many years ago an actor. So I'm well versed in long takes, uh, like you mentioned before. What's interesting to me is the real-time nature of this film. I'm impressed by all the technical uh mechanics of how you got it to look like one shot. But the storytelling of a real-time narrative, it's not something you see done very much even on stage. I can think of a handful of plays that happen in the 90 minutes or two hours that they're on stage. How was that developing the story? Was it difficult to cram in all of your story beats and make a one-night story believable?

SPEAKER_01 20:49

Uh yes, that was very, very hard. You said perfectly. The the difference is, like example, night 1917 is uh that was one of my um uh references for the technical aspect and the storytelling aspect of general. There's not horror, whatever, or burn down. But all the I'm the I'm naming those, or even if you go with rope, example, or whatever the one, or silent house, there's another one, or I can go with the Russian arc, you know. So I can go with many, many of those. And strangely enough, when we shot the movie, the Adolescence, the TV series was about to be to be released at the moment that we finished the shoot. So that was like, oh my god, win the trend. Oh, that's great. So um, but or boarding point, that's another one, the same director of adolescence. So that that's just all different genres, but they all have something similar. It's about tension. And is it appropriate to do a one shot? Why you doing this thing in one shot, basically? And this is where I had a most hard time in my mind to say why I'm gonna tell that story in one shot. What will be the purpose of that? And my on the writing side, we were like, okay, well, why to doing a one, you know, why being In real time. Well, I'll say, well, technically, if you have a uh an old lady who just like, you know, having mood swing and mental problem, you will see that in real time. And real time also give us the the thing of the luxury, I would say, or the justification to having a moment of more silence, I will say that, the more time than you have with one characters, right? To just moving fast, fast, fast, and always having something happening. So that gives us a little bit more liberty on sound, also at the same time. You see what I mean? So I'm like, if we are in real time, what is real time? Real time is, example, you. You wake up in the morning, you take your coffee, drink, uh, read your newspaper, watch a little bit TV, get dressed, and a phone's gonna happen. Oh, hi. Oh, yeah, I need to do this. And now something happened in your day. But you still have a good, solid 15 minutes of ordinary life, you know. Obviously, as as a as for as a uh uh someone who's gonna watch a movie, don't want to watch that. Like, oh, okay, uh, that's boring. Come on, it needs to happen something. You need to have tension or whatever. But real life is that too, you know, it could give you tension by suspense. And having following Julia just at the beginning of the film say, I'm gonna put down in bed that lady, unpacking, discovering the house and hearing weird noise, which is we all do, uh uh, you know, when you arrive in a new place and you know you're gonna stay there, new noises is always like disturbing because you don't know where to come from, you're not feeling comfortable when you move in the new house. This is why Haunted House is always about people going in a new house. Because it's more plausible for anybody in your life than it's happening at nine. The first night you're gonna hear noises. You think there's someone, but there's nobody. Origin of ghosts. So it's like that's the the idea behind. So it's the same thing with that. Like, what can we do? What she sits down, she hears those noises, and boom, someone's coming. Who's that guy? I'm alone in that cabin. And after that, you just like representing real life all the time and going fast, fast, fast. Because 1917, you have an hour in Athens in real time, got concussious, and boom, we're at night. And finishing the the movie like that. Uh Burn Man is uh uh uh a three-act play, you know. So basically act one, act two, act three, 40 minutes each, and pass by the day. So it's uh just a 40 minutes moment in the life of that character, and that's it. At three different stages in the in his um weekend, basically, in that whole weekend of uh the play that he needs to do. So uh same thing with boarding room. Bowling room is more about that guy that is gonna be on the fire, like very soon with the critics in this restaurant, you know, and how tension is in the restaurant and how how powerful is this, but it's like the the that that moment, you know. So it's just like a glimpse, basically, even separating in real time. So it's all about that. And I think that movie represents that, and it's very interesting to have a position horror like in real time, uh, and following this thing in real time. So, but it was so hard to write because how do you write that? Seriously, it's like it was the the writers were writing uh uh puzzle house at the beginning. It was great, it was like, oh, super fun. But after that, they're like and oh shit.

SPEAKER_00 25:25

I should also give credit. The story you are credited with story by uh Adam O'Brien. So uh, you know, I I just that's why I I thought we should unpack this because it seems like a very difficult story to imagine, and then a difficult story to crack on the page in full visual screenplay language.

SPEAKER_01 25:43

Oh, yeah, at the beginning, at the beginning, actually it started like a uh like I said, as an home invasion. Okay, and my concept was uh uh what if we do a reverse home invasion? It's not about we want us to get in, we want you to get out because it's the menace is inside the house. This is how it started. And the beginning was a couple going uh in bed and something happened, and it's at three o'clock in the morning, and uh, we just follow that for an hour and a half, and what's got what's happening inside and like uh a little bit the The Stranger, but you know, so the movie The Stranger, but with uh um but in real time, you know, in the in that situation of one shot. Uh the issue we had is like, okay, but I I cannot convey good tension if the the menace not coming inside. And if it's not that, okay, what is inside? And we went, you know, spitball on many, many ideas. And at some point, I think it's draft, I think six or seven of the script, something like that. One other writer, Brad, uh, to name it, um, came with the idea like, oh, maybe it's maybe it's about a possession horror instead. The menace is inside, but inside a person instead. I'm like, well, that's a good idea. Okay, let's rewrite the script. And he rewrote the script in that direction, you know, but we kept uh uh element of the omen basion. I like the idea of people outside trying to get in, just shake it up a little bit, and at the end having a double twist, you know, because there's two twists in that thing. So it's like, okay, what can what what's the other layers that we can give in that movie too? That was part of the original uh script, too, the original idea. But it's all about how you can write that. And it was that that was tough. That was tough. But it was started that with the Old Invasion first, before to be a uh position horror.

SPEAKER_00 27:29

What's really interesting about the script itself is we waste zero time because it's real time, we waste zero time on exposition, and we learn about these characters and their backstory as much as we learn about them. I think there's still some mystery there, which is is nice. Um we learn about it through the course of the action, as opposed to just an info dump to set up the the the events, which really puts character relationships front and center here. And I wonder if you had a specific method as a director to build these relationships with the actors and how you coach them through these long stretches of shooting um and and shooting in six days.

SPEAKER_01 28:09

Yeah, that was uh yeah, that yeah. Um I need to give credit to the actors on this one, uh, more than uh than me as a director uh for that particular movie, just because it was so odd to make a movie like that. Uh uh crew, cast myself is like, okay, we're gonna learn along the way, basically, a little bit how to do things. So it's more about collaboration uh on for that particular movie. So even with the actors, like, yeah, we do a table read and just chatting about the characters and make notes and you know, check it out after the process of the audition. But we focus a lot more on okay, you need to start from here and you go there and don't forget this and that. But it doesn't make a scene, it makes like, oh, it's just a portion of the scene because the scene is 15 minutes long through the house. So kudos to uh Emmanuel Lucie Martinez who played Julia because she she was my uh very close partner on on a lot of things that she had to do because she's the one who had a lot of things to do, uh, compared to Evelyn, Don Ford, uh played by Don Ford, where she is, yes, she has more characters than she needs to really be inside, outside, you know, and play that that level of dementia and mental and mental states and make it believe as much as possible at the beginning that no, she maybe have a problem, and no, she basically she's possessed, you know. So, and now how we twist that in the different type of characters, uh uh, and how we can suddenly have admit through um uh the audience know something that the lead characters don't know, and that it makes like, oh, that's make another level of tension all the time. So, and this is why a lot of I I read that a few people say, get the out of the house now, lady. What the hell are you doing? It's like, yeah, of course, but technically she will say, never gonna do that. She needs to take care of that lady. She doesn't know what just happened, you know? Us we know, but she don't know. So that was that kind of that play. So this is more what we did basically to answer your questions. Like Emmanuel helped me a lot to just take out more the action because she's the one who needs to carry a flashlight, flashlight here, this, okay, move here, open the door. And and for 15 freaking minutes, not not you know, not stumbling, and just and the rule was if you make a mistake, it doesn't matter. Run with it. It doesn't matter. We'll see what happens. Maybe we'll have some magic in that and those little mistakes, you know? And the same thing with Don. I'm like, Don, you will be a little bit more yours by yourself on this thing because you're the the scare factor of everything. You are the the the scare, you are the thing, you know? And Julia is more like the oh, what's going on? You she is the perspective of the audience. And I wanted the here's the tricky part. I wanted the camera to be a witness. Oh, I like that. Yeah. So this is why you have shots and us hiding a little bit here, going, we're not really, really uh uh too much in the f in the face of uh anything, you know, we're not pointing out a lot. Sometimes, yes, but not like, oh, I'm gonna show you this, guys. Because the camera, if you do that, the camera doesn't is not a witness anymore, it's active, you know?

SPEAKER_00 31:30

Yeah, it's more editorial, yeah.

SPEAKER_01 31:31

Exactly, it's more editorial. And but if you are a witness of the thing, it becomes like, oh, is this something that's gonna happen in the corner of that of this or that? So so the other character of the movie, it's the camera. And that was that was something else to play a lot. So it's how to coordinate that. And I'm not uh I'm gonna talk about Bill too. And you know, the the the the the toughest part, I think that it was Bill character. That was the tough, and it was tough also for us a little bit to to adjust a little bit between the two ladies and just like say, okay, so what needs to be done? And and and he has the great line, a few great lines that is super, super important. But it's also like like I said to everybody, it's like, guys, you need to help me out here. We have only a weekend to rear. We need to shoot that fast. Um, it's uh all hands on deck, you know. So it's like uh I'm not gonna say direct yourselves, because I'm gonna say, but I'm like, I tell you what to do, but it's 15 minutes to remember. Yeah. So if you make a mistake, even me, I might lose a few things here and there. So I'm gonna trust that you are part of the process, you know. So I I maybe sometimes I didn't catch up something or whatever. So I'm gonna trust that you know what you're doing that will fit in the whole thing because it was so hard. And and this is I'm emphasizing a lot about that. It's like kudos to the actors because they they they didn't, you know, flinch and just like say, okay, let's do this. It's a challenge, it's fun, you know. And shooting at night. I just want to put a hands on that. Shooting overnight. Try to remember all those lines and just to figure it out, all those movements in the middle of the night. You re-earth for four hours or whatever, five hours. The set is ready, but you need to re-earth, check it out, you do your shot, nah, not working, working, and you just like play like that. You get tired at some point. Oh, yeah. But it's it was hard, it was so hard, and that doesn't make the difference also between that movie than other uh one-shot movie, then we can talk like mads or whatever. It's like it's happening all at night in one location, and we try it's so freaking hard to do, you know? So, so hard. And and like I said, kudos to the actors, and they they they they play the game, and the crew get inside, they get inside the house, and like, hey, that's fun. And everybody has fun. Everybody told me that it was the best of filmmaking experience they ever had. So, actors, crew, everybody, and myself included.

SPEAKER_00 34:10

Well, my suspicion is that it was a good experience for them because of the leadership that you provided. I I always notice when I speak to a director, and when I was directing, the best directors recognize that it's a collaborative process. And the best directors give their team, their crew, and their actors agency to make decisions because the best idea in the room wins. The director just has the luxury of choosing which idea is the best one.

SPEAKER_01 34:36

You know, it's not taste after all. You know? So it's uh is basically that. So it's like, do you have a good taste? Yes, great. So the best idea is gonna win. So who am I to say that the idea that's the idea is not that is a bad idea? So I'm like, I don't know. And so I'm like, okay, it fits in the sandbox. This is what I do also as a director. What I said, what I said to everybody all the time is like, okay, we have a sandbox. Me, my job is to give you just the parameters of that sandbox, the limitation, and do whatever you want in that sandbox after that. I don't care. So because I know then if you respect those boundaries of the sandbox, everything you're gonna do in that will work, no matter what. So I always come up with the uh three pages or four pages of here's the rules of that film, here's what is important in that film. Same thing in the budget. When I do budget, I'm like always uh okay, what is the three most important things in that movie? And actually where the money will go. That's everything else. Yeah, so example in that one, I'm I was like, uh, okay, it's not editing, so I don't have to put a lot of money in editing. I will edit myself, it's fine, no problem. So it will be like, okay, we need that camera, a specific camera, because we are very low light, and Alexa 35 get way more light, and it was more specific tool for that. It's a big tool. We learned that along the way, obviously. But it was for, oh, we should at night. We need more, you know, the one way or another, and we're limited in budget. So I cannot just like say, oh, let's uh have a hundred lights here. So it's like that's just nuts. So I'm like, yeah, okay, this is where the money needs to go. Uh, and the puppet at the end, the money went there. Uh, that was another place that a lot of money went there. And I choose, I'm like, okay, what is the other place in that movie that it needs to be very important? People will think that it's maybe art direct directing, the art department, but the house was 90% like that. So I didn't have a lot to do there. But so it was more in the sound. So I turned a lot in sound on that one because I'm like, that's gonna be my uh go-to if I have a problem in the movie. So my son designer is an old friend of mine, and we agree with that. Like, okay, let's find an escape thing. Like, for example, the tape in the movie. I created those tapes not because it was interesting storytelling part, was an homage first for from Evil Dead. Okay, that was an homage to Evil Dead, but also it was because what we wrote for originally for those tapes, I said it doesn't matter. The point is just to get reaction, and if I need to change something in the tape, an ADR at the end will lead what held the story. So if we have a problem, we'll get sick on something. We have three tapes to fix it. Basically, along the line.

SPEAKER_00 37:21

That's really smart. And and the the general sound of the house and banging, or uh, you know, even I think about the way you recorded the prayer where I was like, did I just hear that the the words of that prayer? Like I it was it was just so subtle and so the sound was insidious on this film. It was it was uh a very um malevolent sort of uh uh presence in the film. It was just so well done. It's it's interesting that you say that.

SPEAKER_01 37:49

No, no, that was that was uh that was important. The sound for me in movies are very, very important. On all Maradon movies, it's it's the same thing. I put a lot of time on sound. Uh here the music, I wanted to have something more um bombastic. I will say just that, a little bit more big than it's supposed to be for a movie like that. Um because I wanted to have like kind of a I would say, uh, I'm not saying that that negative uh in a negative way. It's just like uh I wanted to have a kind of a B-movie feeling a little bit, you know? Yeah, a little bit bigger than what it is, playing a little bit bigger, uh uh the dialogue's a little bit like uh um monotone a little bit, but oh, it's fun, you know, just getting the fun out of it as much as possible, getting impossible moments, getting the voice of the demon. Come on, it's like yeah, it's so you know, but all those little things, and I'm like, okay, now that I have that playground, what can I do with that? So the tone will be a little bit more bigger for that. And then the music, it comes from that, it was way bigger than that, like way bigger than that. My computer was insane. It's like said, dude, you compose like on a movie of 85 minutes, you compose 81 minutes of music? It's just insane. That's awesome, but he's an awesome, he's an awesome guy. And uh, and and with my son designer after that, we're like, okay, now we just need to pull out a little bit more, and just like, okay, let's uh we did four versions, I think, the whole movie and sound, just to try to find the right balance. And it was always the concern of okay, on the moment of silence, you know, example, when she's traveling in the house, do we put it's a perfect place to put a lot of music because you feel like oh we need to make the movie move forward. But I was like, yeah, but it needs to be a moment of discovery. So let's pull out the music. So it's risky, it's a risk because they're like, uh, it may feel boring, may feel this, may feel that for some, but at the end of like, no, it feels it will feel like if you pay attention, you will hear all the sound that you need to earn along the movie in that scene. All the sounds are there: the weight and the then it banging on the wall, the lightning storm, the wind, uh, the fire, uh, all the sounds are inside that moment. So after that, what's Julia hearing something, you already heard the same thing. So you know that no, okay, it's not a coincidence. That sound is not a coincidence, it's someone in the walls, you know? So that was the idea behind that. So it's uh it's you know, I have always that thing, uh, and I'm saying, and I strangely enough, yesterday I had a conversation with my son Design about that. This movie gives us the time to play with sound a lot. And movies today sometimes have a tendency to cut all the time. Cut, cut, cut, cut, cut. We're used to that now. Swipe up, swipe down, whatever is, you know. So it's normal, it's just normal. So it's just the evolution of that. But movies in the 70s, movies in the 60s, uh, great movies, by the way. So Lawrence of Arabia. So come on, it's like can happen the greatest ever in the world. It doesn't have a lot of cut when you think about that. It takes your time, breathe, look, feel what they have to feel, you know. Uh, it's got to do that all the time, you know. So uh we can play with those things. I'm like, oh, it's great to bring that back. It's risky of a world today, it's a big risk. But for me, it's like, no, it's not a risk. I grew up with those movies. I grew up with that type of things, and my sound designers said the same thing. So, yeah, I grew up with the same thing, you know. So it's fun to play with the sound that is becoming also another character because now it gives you the right atmosphere, the right tone. And this movie is about tone, atmosphere, feeling, you know. The lightning are not the a secret of that one. Like, I need to have a lightning. Why? Because it's happening in real time. A real lightning storm is great, but what's the motivation? Well, the evil's coming. Come on, this like the lightning storm is coming, it's fun. It's gonna be fun visually, it's gonna be fun on the sound. You can play, you can, you know, it's it's become very, very interesting. So it gives gives us the mood suddenly. So when you have silence, you just hearing that little rumble, like your ear is like, oh yeah, that's ooh, there's something's happening, you know. So that that's super fun to play with that. And this is why I choose, yeah. I this is why I chose the look, by the way. Just uh just to tell you this. This is why I chose that look. I wanted to have the feeling of a haunted house. When you look at the movie, it feels way more haunted house than possession horror. Possession horror and exorcism, it's grunge. Okay, I would just say that. It's more greeny, it's more earthy, it's more like it's it's present, it's there's something like rough. Ghost is light, ghost is blue, ghost is green, ghost is mood, atmosphere, slow, you know. So, and I said that will make the position horror different. It will be more inside of the head of Evelyn if we do that. We're in a dream. And this is why you see all the light with the kind of a glooming around. We are in a dream.

SPEAKER_00 43:09

It's interesting that you say that because I I and I know I mentioned this earlier, but it the easy answer is to put this in a in a possession horror box. But I think there are so many subgenres that you were playing with or like the painting with on your canvas. And I think that's what made this movie a lot of fun for me is that I'm a big B horror movie fan. I'm a big Gothic horror fan. Uh I'm a big Jallo fan. So when you say bombastic scores, uh sign me up. Like we're going to see Goblin uh next week play a concert. They're playing Tenebrae. So yeah, like that's and that's yeah, my bread and butter. So I had a blast with this because you're using all the colors on the palette that I love seeing people paint with. That's excellent stuff. And I know that you said Yeah, and I know that you said this film is fun and it's technically. And you also touched on something earlier in our conversation that horror allows you to play with deeper themes. Yeah. And the themes that I saw here are caregiver fatigue and what it's like to care for someone, the responsibility you feel for someone you are who's in your care, someone you are protecting, be that, and and with my personal experience, I took away the feeling I have toward my kids, but also the feeling I have towards my mother who's nearing the end of her life. It all really resonated with me. And also, there's a distinct subplot that has to deal with accountability for the secrets that you might have thought were buried. Yes, it's uh and the destruction of a family because of secrets. There are a ton of themes in here, and I wonder if there's something specific you're hoping the audience leaves with after watching Barry the Devil.

SPEAKER_01 44:48

It's a lot about uh uh the grief, you know. It's uh it's a movie a lot about grief when you think about that. So it's all always uh all the characters have the grief. Okay, so something they need to grief about. Uh it can be their daughter, their old the the marriage, it can be uh uh the mother of uh Julia. So everybody has a as a uh as uh some sort of uh degree of of grief basically all the time. And it's always that that that that seeking thing basically of um and and and and it it the the the very interesting part about that theme is because it's when you look at the possession genre, you're always having that kind of um uh personal grasp then you need to have to make it feel good, you know, as much as possible. Doesn't matter if the character plays a little bit big or that, it doesn't matter. Uh, if you look at the uh Regan, you know, so uh the character Regan and the Exorcist. It's all about that crisis, a teen, a crisis, then you have that arc. So you can you can see then the change of her body become like the possession, you know, that's open so they need for the demon. Well, that's kind of the same thing here when you think about that. Not not uh not for that part, but going with the grief for every every character is open for the for the dam the demon to get inside you because you are becoming someone else, because you're not yourself, you're not acting for yourself, and you need to forgive who you are, basically, and forgive um forgive your past because grief doesn't serve anybody, you know. So it's uh it's like it's uh it's it's just like move on, you know. So it's fine. So grief, do it, no, no, no, no reason to to have anger about that, you know. So it's like you need to stick in and just to do your thing. And this movie, when you look at this, is about that. So everybody have that. So uh and the demon possessed because of, you know, so that uh that weakness, a demon possessed because it finds a weakness in someone, and now you don't know if you play with mental health or if you play with uh something more greater, if if you play something with uh God or whatever. So why you have schizophrenia? Well, it's a characteristic of people who have a disoriented, uh, a different form of personality. Why? Well, you can have that and feel like normal, but move swing and you become someone else. It can be very fucking scary when you think about that, you know? And when you look at Evelyn, she doesn't have schizophrenia, she has more dementia, so she forgets stuff all the time. So basically, and that is part of sort of the two shots that we have at the beginning, uh the middle of the movie, and at the ending. I wanted to have that kind of oh, we're going inside your head, and what's happening is emptiness suddenly. Like the ending is that you will we see what we did with the sound. When she looked at us for that for the last, last, last feast. I make it upset, look at their lances, look, look at the audience. No sound except the song that she's always gonna remember because all the sound around is empty. That's the only thing you remember, is only the song. So, because people who have that kind of things try to cope with their grief and try to cope with what they remember. So that was uh all that thing that I then I tried as much as possible to follow.

SPEAKER_00 48:04

And great horror is uh uh especially lately, I I I shy away from the term elevated horror, but I think horror lately has really done a good job of exposing our all of our grief. Uh it's a really great vehicle for diving into grief and letting us process it in a safe way outside of ourselves, but also maybe making us it grief is a very lonely thing and making us maybe feel a little less alone. So I think this movie does a great job of that.

SPEAKER_01 48:33

Oh, thanks. It was it was uh look, kudos again to my actors who they grasp that and they run with it. And that was a hard thing to to convey in a one-shot. Usually I will probably do some cut just to help to punch a little bit more those elements, and you know, just a good reaction at one place, whatever. So that was the challenge. So you you hope then people will catch those things. You hope then people would enjoy too, because you want to make something fun too. You you know, I didn't want to do another uh Babadook, you know. So it's not that was not my that was not my goal. So is uh that the goal was to uh having a roller coaster ride, which is it is so you start calm, you go up, and you just go after that like crazy. But having another, you know, a little something behind that. It's not just only that. If you pay attention, you sit down and say, okay, I'm gonna watch this movie, and I'm just gonna pay attention about what they say, how they react, you will feel it. And through some fun moment, too, you know, some like, what the hell's going on with that priest? And it's not a priest at the end. What the hell? You know, so it's like, oh, what's what's going on in that puppet right now at the end? How did the hell happen, you know? So it's all that fun part, you know, then you have, but you still have a little bit more because we have those moments with uh with uh the character of Edlen, who explain about death and how she wants to die and where she thinks she's gonna die. So that's that's that's deep when you think about that. It's of or and after that when she becomes more demon, the prayer than she sings and she says is so different. But it's words, just like you can not pay attention. If you don't pay attention, you're gonna lose that part. Say, why did that scene happen? Well, listen to what they say, and you will see, like, ooh, that's more creepy. That's way, way more deep and creepy.

SPEAKER_00 50:21

Yeah, you really have to you have to be tuned into this one. And it is a risk with a slow burn to hope that audiences are tuned in and to not have that editorial tool in your toolbox. But I I was there with you the whole time. I can only speak for myself, but I was there with you the whole time.

SPEAKER_01 50:38

Well, to write this phone.

SPEAKER_00 50:42

Let's take this down the home stretch here. I have a few questions for you that I ask everybody who comes on the show, uh, partially because I think it's really interesting to find out what makes filmmakers and authors tick, uh, but also because I want to pad my watch list and find some really great movie recommendations. So I'm curious, what is your and you can give me either or here because this is a broad, uh it's broad film. What's your favorite either possession movie or home invasion movie? And you can give me both if you want.

SPEAKER_01 51:10

Oh, uh probably my obviously my latest home invasion film was uh uh uh The Strangers. I think it it's when you watch that movie, it's really interesting. It's not like, whoa, grandios and the thing, but it's not about that. It's because when it gets released at that moment, that at that time, I was there, you know. So I went to the theater to watch that movie. And it's not a long movie, it's like uh 80 minutes, something like that. It's super quick. But it it is so well done that you feel then you are that something bad's gonna happen, even if they're not giving you a lot of explanation. See, that's a that's a very good one that your imagination is to fill up the gap everywhere. Yeah, and I find that very, very interesting, and well act too. So that helps a lot. So uh bad acting makes bad horror movie, you know. So that's that's that's for sure. But that stranger, that was cool, and obviously, you know, uh Possession. I have two actually. It's uh Evil Dead. Look, it's uh the first one. Obviously, all the series uh don't get me wrong, Evil Dead too. How can that go like groovy? You know, so I was like, it's amazing, it's impossible to not getting there. But the first one was like, oh, that's interesting. You can make something like like that, it can exist in the world, you know, and you can do a classic with the the exhaust, obviously. So that's the classic of the classic of that genre, yeah.

SPEAKER_00 52:33

You know, that film is a masterpiece, but I oftentimes think Evil Dead, while it's a beloved franchise, doesn't get enough credit in the overall trend that was happening in the early 80s with gore films. Like we we could draw a direct line from evil from maybe like Fulci Zombie to Evil Dead to the Beyond and things like that. And and that gives us dead alive or brain dead uh Peter Jackson's film, which is just a masterpiece. So I think Evil Dead is pivotal in so many sub-genres of horror, and I don't think it gets the love that it deserves. It's a very well-loved film, but I don't think it gets the respect that it deserves for how groundbreaking it was and how it's the connective tissue between zombie films and splatter films, and all definitely splatter films.

SPEAKER_01 53:17

And and and also, and also I will I will add that Sam Raimi when he did that movie, it was a bunch of kids just trying to make a movie. We have the same thing today, by the way. People forget that. That was the uh in the 80s, that was the guy who did that. What happened today with uh uh you know obsession, you know? So it's the same thing, you know, but back in the days, so we all have every decade, we always having one thing in the genre and whatever. In the 70s, this is what Charles Lucas, what he did with uh Star Wars, you know. So it's uh it's so every decade you have something like just popping, you know, like that and creating a new subgenre, or something like we just like as a collective group of love movie lovers, just like say, Oh my god, I'm gonna watch this, I'm gonna be uh in the comic next comic on, watching again uh Back to the Future, you know. So it's it's it's around for so long. Jaws is around for so long, and it's still relevant today, you know what I mean? So it's the same thing with Evil Dead for me. Um, and why are we talking always uh uh with the exorcist? Because it's it's just like, come on, it's the first, you know, it's the first. But people can watch that movie today and like say, but it's not that scary. So maybe, but 1972, it didn't exist. You need to think that that was a big gamble, a big, big, big risk. And people got scared because they've never seen something like that before. So today we see a lot of things, and today it's really hard to get new material, I would say, or in uh fresh material. When it happens, like this year, a lot of new fresh material happened. It's been a while since I didn't see something like, wow, okay, that's new, that's great. Um, and making also something new and fresh as much as possible is so, so hard because you're gonna be always compared by something else, or maybe someone else who did it to whatever, because content is everywhere today, you know. So it's it's it become it become hard. But in the in the 70s, it didn't really happen, you know. Like if you watch Rosemary's Baby, people can say it is not really terrifying. No, but in the 60s, when he did that, come on, it's it's cruffing.

SPEAKER_00 55:28

And I would say Rosemary's Baby is uh and and Roman Polanski aside, that's a conversation for another day. Yeah, but I will say uh Rosemary's Baby, he didn't know that he could change that that he could change the story. That's one of the most faithful novel adaptations ever put to film because he just didn't know that he was allowed to change the story. And that and of itself is a feat that I think is is worthy of some respect. Your feelings on the director aside.

SPEAKER_01 55:54

Yeah, yeah. But I have to yeah, it's really great for that. And it's the same thing. I used that reference for my previous movie, Mom. So there was uh that was one of my reference for that. So I was like, Yeah, that that is that is so much hard movie to watch, you know. So it's uh when you think about that now today, so it was like uh that was that was something.

SPEAKER_00 56:12

So I directed a 10-minute version of Rosemary's Baby. It was uh inspired by Edward Albee's play about the baby and Rosemary's Baby. It was called a 10-minute play about Rosemary's Baby, and it was completely camp. It's part of a one-act series, it played more like Tales from the Crypt, but it was complete camp nonsense. We gave the baby googly eyes. They were just googly eyes, like it was just off the wall. Um, so that's always lived very close to my heart. I I have to ask, in the whole breath of horror, which you know, you can we all have our interest in horror. Yeah, do you have a favorite horror film of all time?

SPEAKER_01 56:51

Oh, that's such a tough question. That's a tough one in the horror genre. Oh, that is uh that is really, really hard because I I have a tendency to more uh uh going with directors than and their what the film that they made, right? Do you have one movie? Because for me, one movie it's one story you tell me, then I can like enjoy and having fun. But the next day I'm gonna watch another one, then it will hit another spot in my heart or whatever. So I can go like from Nightmare on M3 to go to Scream, you know, and uh but see, it's all West Friday. Yeah, so it's all about West Friday. So I'm like, oh, I'm really into what what is body of work that I like. Um, you know, I would say then in horror, otherwise, in horror, like um it depends on the trend. Like, uh, strangely enough, the last movie that I watched was uh Thanksgiving. It's a fun movie, it's it's so fun, it's like, oh my god, it's so fun, and uh, and I had you cannot not enjoy that. So switch it off, it's fun, and that's it. So that's a very good one. But I favorite, favorite. I like I said, I'm I'm going more with uh directors that make me, you know, make me want make movies. So right now, for me, uh uh in the most recent uh way, it's uh Mike Fanaghan a lot right now. Yeah, I study a lot of his body of work right now. Um and basically when you when you look at what he did, like in uh Ouija, the remake of uh, you know, the the the origin of uh evil, um again, it's really characters, drama, and he had horror into that. And he do that very, very well, probably because he's a big fan uh uh of Stephen King, who do that all the time on all his books. Um a big fan too, obviously. So who's not a big fan of Stephen King, the godfather of a lot of things, you know? Um but but I try to, as a filmmaker, I try to get inspired by his way than he does things, not exactly the way that he do things, but more like, no, let's talk about the drama, a real situation, and putting supernatural and horror into it and find that right balance. So I'm not saying that all his movies are perfect like that, but a lot of them are exactly that. So I'm like, wow, it's amazing. It's a simple movie, it's a home invasion movie, it's not a horror movie. There we go. It's a home invasion movie, and it works very, very well. Simple, do the job. I had a lot of fun. Thank you. We move on, it's great, you know. Uh, when I watch uh Oculus, for me, that was the concept was very so interesting. But what I like is his editing. Ryan again is a really technical director, he's edit all his movies, so he knows the shot in advance, yeah. So he knows how to make a pan here, and he knows that he's gonna cut there in the past or whatever it is. So he he is the one who edits uh Hunting Hill. So you can he edit all his things. So it's really interesting. Maybe this is why I'm like, oh, okay, you understand the same technical aspect than I understand too. So, but you understand the another layer, which is the um uh the the storytelling drama, you know, perfectly well done, well written, you know, and try to put horror in it. So I will say that I'm very much inspired by him uh uh those days. So and uh I'm not saying then Barry the Devil is inspired by that particular thing, but it's it's basically where where I'm like I tried it's it's it's what I'm trying to be when I'm grow up, uh when I grow up. Yeah. I'm trying to be him. I'll try.

SPEAKER_00 1:00:36

We all have our influences, and uh the important thing is that we amalgamate them and we we pass them through the lens of who we are, yeah, and that's what makes new and interesting stories. We it's impossible to ignore ignore the people who've come before us and done really great work. We just internalize it and pass it through us and uh tell our stories. Yeah, true. I cannot wait to hear your thoughts on Carrie. I've not seen it yet. My wife loved it. Yeah, I'd be I would love to hear your thoughts on that once uh maybe maybe after your next film comes out. Uh, do you have anything that you're working on next that you'd like to share with us?

SPEAKER_01 1:01:08

Yes, yes. I'm working on uh the prequel of Bird of the Devil.

SPEAKER_00 1:01:13

There we go.

SPEAKER_01 1:01:14

So uh that's awesome. We're doing it, so it's just a matter of uh weeks right now. So uh the script, I have the script, and uh just like doing my past right now. It's gonna be so different of the first one. Like in the tone, the style, the genre. Uh um, we're going with something else. We're going more uh on the family, uh uh on the marriage story this time. So this is where I'm and I will surprise everybody with that one. So even if you look at Barry the Devil's like, oh, it's the kind of dream. Yeah, but there's a reason why it looks like a dream. So it's been taught before. So all that storytelling, you know, because we discovered along the way while we were creating Barry that there's more to say to that thing. And you know, strip script writing is always about background and how we can make arc and stuff like that. And because it's a one-shot movie that was freaking hard to do and to convey properly. So we quote to quote dumbed down a little bit the script. Not really, you know what I mean by that. So it's like just like a little bit more easy for everybody to do it, just because the time and money and what we had. So it's like, okay, we need to figure it out the best of our ability. And if we make it too complicated, it would be impossible. So we're not gonna have the time to adjust or to do something. So I'm like, what if we do a story of what happened before and what happened after? So we can just stretch more the story and taking the good stuff than we took out and put it in something else.

SPEAKER_00 1:02:41

I appreciated the mystery in Barry the Devil that I didn't get all the answers. And if there's another story to tell there, I'm signed. Sign me up. I want to I want to see it because I'm curious about what happened that got us to this point. And uh there are some characters who are very passionate about the position they find themselves in. And I want to hear about this marriage. I that that is I can't wait to see it. I I wish you all the best on that.

SPEAKER_01 1:03:04

Thanks. And you will see. Uh, Evelyn obviously dug up something, but it's not what we think that she she dig. So though she dig up not what you think. That's that that's why it's like, oh, okay, this is why it's like that. So it's just fun, it's just another fun thing.

SPEAKER_00 1:03:20

That's fantastic. Uh, where can people keep uh an eye on what you're working on? Where can they follow you on social media?

SPEAKER_01 1:03:25

Uh they can follow me on uh I have a TikTok, uh, then I'm not using a lot, unfortunately. I'm I'm getting I'm old, so I'm trying to still trying with social media, but uh on Instagram, uh uh Adam Mayatt O'Brien, you can find me very, very easy. Uh and uh on Facebook too. So it's uh same, same, you know, same tag, and uh Adam Adam Mayatt O'Brien, you can find me right there. So no problem. And awesome. And where can people find Bury the Devil? Right now, Bury the Devil is available on Amazon, on uh Apple TV, uh uh Fandago, um, and all the other kind of other sub platforms like Googles and stuff like that. Yeah, uh good things is we're gonna have a special box set Blu-ray coming in in March. So stay tuned for that. That's awesome. It's uh it's made by a very, very popular company. So we're very excited about that one. So I let them do the announcement, so I cannot say too much, but it's uh but it's happening for real. And after that, we're gonna go in streaming, uh, obviously. So again, uh the announcement will be done soon.

SPEAKER_00 1:04:32

Well, anywhere you get your VOD now and uh keep posted for that physical media release. I know a lot of our listeners and viewers like physical media releases. I am a big physical media collector, and that's one that I will be sure to add to my collection for sure. Ah, perfect. So I'll I'll keep you in touch with that for sure. Yeah, please. Adam, thank you so much. I had a blast talking to you today. I learned a lot about the technical aspects of filmmaking, and I learned a lot about this film from a different perspective than my experience with it. So it's been a pleasure speaking with you.

SPEAKER_01 1:05:01

Uh, that was a pleasure. Thank you so much, man. So let's continue the conversation uh for the beredable tune.

SPEAKER_00 1:05:07

That sounds great. We'd love to have you back. And as always, stay spooky, my friends.